Exposure NotesT h e M o n t h l y N e w s l e t t e r o f t h e S o u t h e a s t e r n P h o t o g r a p h i c S o c i e t yM A Y 2 0 1 5

Southeast Photographic Society

SPSINSIDE THIS ISSUE

1, 2, Drones

2 Club Contacts

3 Color Winners

4 Black & White Winners

5 Digital Winners

6 Member Spotlight

6 New Products

7 Photographing Animals

At The Zoo

8 Panning

9 How to Submit Your

Images to Monthly Com-

petitions

10 Directions and Things

To Do

C O M I N G E V E N T S May 16 Battle of Resca

May 16 Learn shop “Le-

galities related to Photog-

raphy

June 5 June Meeting “An-

imals”

June 13 Heritage Day at

The William Harris Home-

stead

June 13 Coffee and Cri-

tique

Check our Meet up site for

more details

DRONES By Christina Zdanowicz, CNN

continued on page 2

Established 1974

A bird’s eye camera sweeps over the green fields of Ireland, flies over the towering Cliffs of Moher and pans the ocean hun-dreds of feet below.

It’s just like a scene in a movie. But this is not Hollywood magic. The spectacular footage was shot, not by a film crew in a helicopter, but with an inexpensive toy drone -- an unmanned aerial vehicle, or UAV, as hobbyists call them -- operated by Andreas Ostermann.

And with a few hundred dollars and some practice, you can make breathtaking aerial videos, too.

“It is the closest thing to flying like a bird,” said Ostermann, an aerial-photography hobbyist who lives in Germany. “My inspi-ration is to show how beautiful these shots can be and that this hobby is not at all dan-gerous if you know what you do.”

The world of remote-control aircraft has been around for decades, but the growth and technological wizardry of UAVs have created a new wave of hobbyists trying their hand at aerial photography.

From views of stunning vistas, waterfronts and landmarks to overhead shots of a house about to fall off an eroding cliff or a cheery scene of a fox trotting on ice, there are a lot of creative, fun ways people are using recreational drones for aerial videos.

“Originally it was just a bunch of guys tinkering and building things. Now people want to focus on the applications rather than the technology,” said Timothy Reu-ter, founder of the Washington, D.C. Area

Drone User Group, the largest UAV club in the country.

Instead of building drones from kits, Reuter and others like him are turning to off-the-shelf models that are ready to fly.

“Recently some of the sophisticated capa-bilities have gotten cheap and easy to use,” he said. “The difference between the pro-fessional and hobbyist tools isn’t that big anymore -- that’s part of the revolution.”

Since the FAA’s 2007 warning not to use drones for commercial purposes, there’s been some debate and confusion in the hobbyist community about what you can and can’t do with aerial photography. So before you go out and strap a GoPro to a ready-made drone, here’s what you need to know:

LEARN THE RULESKeep drones and other model aircraft less than 400 feet above the ground and make sure you’re not within 3 miles of an air-port or air traffic, per FAA guidelines. Also check your state law, as some states are more strict with trespassing laws. Flying over someone’s land could be considered trespassing.

While it’s tempting to turn aerial drone photography into a business, beware that the FAA regulates commercial flights on a case-by-case basis. Only two commercial operations have been approved, and those are for exploratory flights in the Arctic.

P.S. Before you take your drone to shoot footage on vacation, do your research first. UAV laws vary in each country.

http://www.cnn.com/2014/05/22/tech/innovation/drone-uav-photography/index.html

Please click on link to see video

SPS BOARD MEMBER AND COMMITTEE CHAIR CONTACT

PRESIDENTElton Saulsberry Elton@elton-saulsberry.com

VICE PRESIDENTCherie Truesdell rctruesdell@comcast.net

SECRETARYStan Kalisch sk.stankalisch@gmail.com

TREASURERPat Pickwick p2finsup@gmail.com

COMPETITIONS Ray Davis rdavis7939@AOL.com

Jim Morgenthaler nikon@uga.edu

FACILITIES

Tony Thaxton Thaxton.jr@comcast.net

PROGRAMSJack Martin jackmartinphoto@gmail.com

MEMBERSHIP

Laura Kresmin laurakt@com-cast.net laurakt@comcast.net

SOCIAL MEDIA Caitlyn Barron cait.bar-ron@gmail.com

NEWSLETTERAnne Nettles graphixs11@yahoo.com

DRONES By Christina Zdanowicz, CNN Continued from page 1

JOIN A CLUB OR FIND AN INSTRUCTORIt’s better to work with experienced flyers than to test the skies alone.

“Find a community to learn with if you’re going to be serious, like a drone group or through the Academy of Model Aeronau-tics,” said Reuter. “They’ll teach you how to be safe and prevent any accidents.”

Study different models and what they can do.

Toy drones, like the Blade Nano QX, are great introductory models for people learn-ing how to fly, said Reuter. This model runs about $80 online.

Moving up to mid-range models, consider UAVs that come fully assembled, such as 3D Robotics’ Iris model, which runs $750. The company’s CEO, Chris Anderson, pio-neered one of the first online drone forums, DIY Drones.

One of the more popular mid-range UAVs is DJI’s Phantom series. This quadcopter, priced from $500 without a camera and $1,000 and up for a model with an attached GoPro, is geared toward folks interested in aerial photography.

If you’re looking for something smaller than the Phantom, check out Reuter’s recent creation, the Pocket Drone. The multi-cop-ter is lightweight and portable enough to fit in a backpack, he said.

START SMALLLearn to fly a cheap toy drone before add-ing a camera. Once you know how to oper-ate that, you can fly a larger model, advises Patrick McKay, a Colorado hobbyist who’s been flying UAVs since 2011.

“Don’t invest too much initially, since you will inevitably crash a lot while learning.”

Keep practicing until you’re comfortable.

Canadian photographer Brent Foster en-courages newcomers to learn how to fly in manual mode first. That way if your GPS goes out, “it’ll save you from a crash,” said the former LA Times photojournalist who got hooked on flying UAVs two years ago.

Knowing your gear and its limitations will be valuable for when you fly in new, some-times unpredictable situations, several UAV hobbyists said.

PUT SAFETY FIRST“Always think about what you might hit if your craft crashed on a given flight,” said McKay, a Colorado hobbyist.

“Don’t fly over large crowds of people doing event photography unless you have a lot of experience and confidence in your equipment, and stay away from areas/alti-tudes where you could pose a collision risk to manned aircraft.”

USE ONLINE RESOURCESOnline forums and Facebook groups are great place to learn more about the hobby. DIY Drones is a pioneer forum that contin-ues to be active. Other online resources in-clude Multi-Rotor Forums, the DJI Phantom Users Group on Facebook and tons of local radio-controlled flyer group sites.

HAVE FUNOnce you have the rules, safety precautions and practice time under your belt, it’s time to have fun.

“I love flying in the mountains and zoom-ing down mountainsides,” said McKay. “It allows me to experience all the thrills of flight in spectacular locations with my body never leaving the ground.”

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Color Winners May 2015 page 3

Carl Fredrickson “45 RPM”

Stephen Weiss “Old Tech”

Anne Nettles “Cha-Ching”

David Wolf “Steam Detail”

Harriet Dye “Scale With Apples”

Jack Martin “Van Gogh’s Ride”

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page 4Black and White Winners May 2015

David Woolf “Water Pump Me-ter”

Mike Boatright “Redback”

Stephen Weiss “Type Right”

Jack Martin “Faded Glory”

Jeff Misteen “Filament”

John McGinn “Graphex”

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Digital Winners May 2015 page 5

Paul Rodgers “Vinyl Pleasures”

David Woolf “Silo City”

Mary Jean McGinn “Typewriter”

John Razza “Dead Giants”

Miki Dillon “They Used To Be Useful”

Member Spotlight ~ Marcia Brandes

New Products

1.Where do you live? I live in Peachtree Corners, which is in the corner where Gwinnett, Dekalb and Fulton counties all meet. I have lived here for 42 years.

2.What is your profession? I am a retired business owner. For 33 years, my business partner and I owned and operated an art manufacturing compa-ny, Phoenix Galleries. We sold framed art wholesale to the home furnishings industry and had showrooms in Atlanta and High Point, NC, as well as other

cities at various times. We employed over 20 people, including 8 artists, and had contract salesmen over most of the U.S. We produced giclee prints of our artists’ works, and also sold their originals as well as posters that we purchased from other publish-ers. We also printed and sold works by some Atlanta photogra-phers including Gay Allen and Pam Moxley.

3.How long have you been a member of SPS? I joined SPS in December, 2013

4. How long have you been into photography, and how did you get started? I love to travel and have always enjoyed travel pho-tography as a way to enjoy, capture, and remember my trips. For many years our business employed a professional photographer to photograph our art products. Once we moved to digital, how-ever, our photographer told us there was no reason we couldn’t do it ourselves, so I bought studio lights, a Canon 20D, several lenses, and started doing it myself. At that point I was already very familiar with Photoshop and color correcting, so it was an easy transition.

5. What is your favorite subject/what inspires you? Travel inspires me, but my favorite subject is water birds. I have sold a number of photographs of pelicans and herons. They have so much attitude! I also love photographing iconic places in my travels, even though they have been done many times. It is gratifying knowing that the shot of Machu Picchu on my wall is one I took after an exhausting climb. And of course I love photographing my grandchildren.

6. If you do your own post-production work, what software are you using? I’ve used Photoshop for close to 20 years and Light-room for at least 5; I finally broke down this year and subscribed to Lightroom CC and Photoshop CC. I also use Nik and Topaz plug-ins.

7. Do you do your own printing? What type of printer do you use? My business partner and I still own an Epson 9800 and we still sell a few giclee prints of my photos to a wholesale client in the home furnishings industry. We print on both canvas and paper.

8. Anything else you’d like to share about yourself or your pho-tography? I really came at photography backwards, because I became a Photoshop professional before I started serious pho-tography.

9. What photographers inspire you? I am amazed every month at the skillful and artistic photos that members exhibit and they inspire me to keep trying. I have also been inspired for many years by Art Wolfe’s wildlife photography. I wish I could do that, but I don’t want to work that hard! I have learned a lot watching classes by several professional photographers on Creative Live.

UAV Photography DJI Phantom 3 With the integrated 4K or HD camera in Phantom 3, you’re cre-ating amazing photos and video of everything you see. A live HD view lets you truly experience flight and see everything from your camera in real time. The upgraded flight system helps you fly and the dedicated remote controller and mobile app put complete control in your hands.

There are two Phantom 3 models: Phantom 3 Professional and Phantom 3 Advanced.

New Camera Design Imagine amazing, immersive footage at your fingertips. Imagine capturing content fit for the big screen, with crisp images, beautiful resolution and vivid colors. With an integrated, stabilized camera, your Phantom 3 brings all of this and more into your life. Built entirely from the ground up to work specifically with your Phantom 3, this combination of top-level imaging and flight technology has never before been achieved. The Phantom 3 Professional comes with a 4K camera, while the Phantom 3 Advanced shoots 1080P HD.

Easy-to-Fly Design Your Phantom 3 fits into your life and makes flying remarkably intuitive and easy. From takeoff to landing, your Phantom 3 is

completely under your control, responding to your commands while automatically handling the most complex controls needed for stable flight. Maintaining stable flight and complete control is crucial to every successful flight. The Phantom 3 contains the best, newest DJI flight technology, giving you an experience with full, automatic intelligent support. These systems help you fly better and safer and are designed so that you never have to think about them at all.

Adorama Price $1,359.00 Click for more information

JUNE

COMPETITION

THEME

“Animals”

Show us your fauna

All images

must have been

taken in the last 12

months.

From Richard BrodzellerText by Paula Brookmire

BE PATIENTPlan your trip if you hope to

photograph a particular animal. Try to anticipate what the light will be like at that time of day. Be flexible and be prepared for disappointment if the ani-mal you came to photograph is napping. Have a plan B or just keep walking through the Zoo. To come away with a winning photo probably takes more luck than planning, although famed photographer Ansel Adams said that a “prepared mind” was more likely to capture a high-quality but spur-of-the-moment photo. That means it helps to know something about how to light a scene, especially in fast-changing light at the end of the day.COME EARLY OR LATE

Midday light is not attractive. In the morning, the light’s good and many animals are more ac-tive. In summer, Zoo events held between 6:30 and 8:30 p.m. can provide some backlit or side-lit scenes that add dimension and warmth to photos. The long shadows of the late-in-the-day sun can make for a dramat-ic photo. Unfortunately, in the evening some animals may be hanging around the door to their indoor enclosures, waiting to be let back in for the evening. These are not the best back-drops for a photo. It’s preferable to have trees, foliage or a pool in the photo.LOCATION ANGLE

The best places outdoors to get animals in the background are the bigger animal exhibits such as elephants, giraffes, hip-pos, camels, elk and moose. Stay at the same level as the animal – don’t shoot down. Wait for the animal to walk back up a hill or rock. Personally, I try to avoid getting the rock walls (gunite) in the background. I also like to use a telephoto lens.PEOPLE SHOULD NOT LOOK POSED

When you’re shooting a pic-ture of people in front of an an-imal exhibit, the people usually are looking toward the animal with their backs to the camera. If you really want to see their faces, you often have to stage the picture. Ask the people to turn with their backs to the ex-hibit and to look off into the dis-tance—but not at you. (If they look directly at the camera, they look as if they’re posing). Or you can have them turn sideways so you see part of their faces but they seem to be observing a nearby exhibit.SHOOTING INDOOR EXHIB-ITS THROUGH GLASS WITH FLASHIf you’re using a flash, shoot at an angle to the glass to avoid reflection of your light in your photo. The rule of physics applies: The angle of incidence equals the angle of reflection. Also, try to use your flash as a fill light so that you don’t overwhelm the scene with your strobe light.SHOOTING INDOOR EXHIB-ITS THROUGH GLASS WITH-OUT FLASHIf your digital camera can be set manually, raise the ISO setting to 800, 1200 or 1600; that way you should be able to avoid flash. If you’re shooting film, try pushing the film one stop or switching to faster film. Try using your lens wide open and a technique described as “dragging the shutter,” which is shooting at longer shutter speeds. This works only if you’re using a tripod and only if the animal you’re photograph-ing isn’t moving around too much. If you don’t want to carry a tripod, try a monopod (just one leg); monopods are inex-pensive and help avoid camera movement when shooting at slow shutter speeds.DON’T SKIMP ON CHOICE OF LENSES

Zoom lenses are okay, but fixed-focal-length lenses are generally sharper than a zoom. Fast lenses with apertures of

f2.8 or greater (f2, f1.8 or f1.4) often can give you that extra stop in really dark environments and can greatly improve your ability to control the depth of field in the photo. You can elim-inate a busy background by throwing it out of focus through the choice of the lens and lens aperture. If the light looks really dramatic, don’t ruin it by over-powering the existing light with a flash. Using on-camera flash on an animal often can result in something similar to “red eye,” with some very bizarre catch lights in the animal’s eyes. This usually happens when the an-imal is looking directly at the camera. I would recommend you try the photo both with flash and without. Another option, if you have the right equipment, is to have a friend hold the light away from the camera without it being tethered to the camera via a cord. You would use a wireless triggering device to fire the light. This is a professional technique that even those zoogoers with serious camera gear don’t often think to do. And it’s often what makes the difference between a professional-quality shot and a snapshot.

COME BACK OFTEN AND KEEP TRYINGOnce you get to know your subjects and how the light falls into the exhibits at vari-ous times of day, you’ll have a better chance of capturing the right moment.

Photographing Animals at the Zoo

Panning is a photograph-ic mind game. But a very cool mind game.

Technically, you should not be able to show motion in a still photograph. After all, the image on the paper is not moving; it’s not going anywhere. But your mind takes the blurred image and tries to make sense out of it. “Aha!” it says. “That’s not a blurry picture; that’s a horse and wagon moving very fast. I get it.”

Part of our delight in “reading” pictures is the I get it part.

Panning is nothing new. It’s been around almost as long as photography itself. Originally it was forced on photographers who had no hope of captur-ing fast moving action without moving the camera in synch with their subjects. They simply lacked film that was fast enough to give them a fast shutter speed.

Racehorses and early motor-car races were enticing subjects at the turn of the century. Pho-tographers discovered, to their delight, that they could get rea-sonably sharp images and that they really liked the streaked backgrounds resulting from swinging the camera along with their subject.

The joy of that discovery never seems to fade. Discov-ering this little trick was one of the most thrilling stages of my early photography. I must have been 13 or 14 years old, playing with my dad’s old folding Ans-co (he’d moved further up the photographic equipment lad-der by then). The camera had one shutter speed: 1/50th of a second—hardly enough to stop a lazy butterfly. I had a beagle named Dixie who was like a streak of lightning when it came to chasing rabbits. No way to stop that motion with a 1/50th-of-a-second shutter speed.

Panning was the answer. I must have picked up the tech-nique from one of the photog-

raphy magazines of the day. I remember thinking: You move the camera during the picture? How’s that going to work?

Slowly, the concept dawned on me. If I panned along with my racing Dixie—that is, if I moved the camera in perfect synchro-nized motion with her as she flew by—she would actually re-main in almost exactly the same place in the picture! The rest of the image would be blurred, but since she was glued to one spot on the film she would be fairly sharp.

It worked! Dixie was sharp—well, my kind of sharp at that time—and the background was wonderfully blurred. When I raced out of the darkroom to show the picture to my parents, they offered a tone of incredu-lous awe. That tone of their voic-es was music to my ears. Later that summer, the same picture elicited similar accolades from the judge at the county fair. She gave me a blue ribbon (before moving on to judge the canned tomatoes).

I was hooked.

Almost every student photog-rapher I’ve ever taught has the same aha! moment when they finally get the idea. But while the concept is simple, the execution has many ways of going wrong.

So here are a few tips to up your percentage of keepers. Panning is a percentage game. One in ten good shots is major league success. One in 100 is not out of the ordinary. But that one will be worth your trouble.

Understand the basic con-cept. Panning works when you move the camera in perfect motion with the subject. It’s not enough to just swing the cam-era from side to side. You have to move it in perfect synch with your subject.

Choose the right subject. Generally (and up to a point) it is easier to pan with a fast-moving subject than a slow one. Sprint-

ers running sideways to you are great examples. They are mov-ing fast enough that you can pan smoothly with their motion, and they are running in a straight line. People walking are almost impossible; they are too slow to get much blur and it’s difficult to pan smoothly. Football players are tough because they move erratically.Use Manual Exposure or maybe Shutter Priority me-tering. Whichever you choose, the object is the same. You don’t want the shutter speed to change while you are shooting.

Pick a good shutter speed. This is important; however, there is no “correct” shutter speed for panning. The longer the shut-ter speed, the more blurred the background will be. A long shut-ter speed will make your subject pop out from the background, and that is good. But the lon-ger the shutter speed, the more difficult it is to get the subject reasonably sharp. It’s a balanc-ing act. As a starting point, let’s go back to the example of the sprinters running across the pic-ture. Try anything between 1/8 and 1/60 of a second. Beyond 1/8 of a second it’s really tough to get sharp, but it can be very interesting. Above 1/60 of a sec-ond, the camera will probably stop too much action and ruin the effect. Except for low-fly-ing jets at air shows. Then you might need 1/500 second, and that brings us to our next prob-lem.

Find the right background. The right background is almost as important as the right sub-ject. The background must have some detail in order to produce the pleasing streaks you are looking for. That is why the jet is a bad subject for panning when it is up against a plain blue sky. Pan all you want but the sky will still be a featureless blue. Noth-ing will look as if it “moved.” On the other hand, backgrounds with too much contrast will of-ten make bad backgrounds for panning. Just one person in a white T-shirt can create an un-sightly white blob in your photo-

graph. Choose carefully.

Use the viewfinder correctly. Your viewfinder is your friend when it comes to panning. The best trick is to find a focusing mark in your viewfinder and put it on your moving subject. Now, try to keep that point per-fectly aligned with your subject. Crosshairs would be perfect, but we don’t have them in cam-era viewfinders, so we have to make do with what we’ve got.

Practice panning smooth-ly. Fluid, smooth motion is the name of the game. No jerking, no rushing, no hesitation. Stand with your body facing where you ideally want to shoot the picture, then rotate your shoul-ders to pick up your subject in the viewfinder. Start shooting before your subjects reach the ideal point; keep shooting af-ter they pass that point. Follow through just like a good golfer. And practice. Good panning shooters literally go out and just practice their movements.

Go for the Goldilocks Effect. The combination of subject motion, panning, and shutter speed is not a precise science. Don’t be afraid to adjust to con-ditions.

Try. Evaluate. Retry. Exper-iment! There is no right way, just infinite variables that can produce interesting results. For instance, if instead of “panning” you could rotate your camera at the same speed as the turning of the carnival Ferris wheel, you might get something cool. Now try to imagine other moving ob-jects you can synch with. By the way, looking back, I see that I shot the horse and carriage in Spain at 1/6 sec at f/9. (And yes, I shot a lot of bad shots to get this one.)

Jim Richardson is a photojournalist recognized for his explorations of small-town life

Panning by Jim Richardson ~ National Geographic

Our projector’s aspect ratio is 1.77 : 1. Your image will have to be cropped a bit top and bottom or display some black borders.

If you want to display your image un-cropped, size it so that it fits within the 1920x1080 projector dimensions. Both hor-izontal and vertical images will show some black margin on the sides.

Submissions are due no later than 9:00 PM on the Thursday before the monthly meeting. Email your images to digital@spsatlanta.org. If you’ll enter “competition” or “submission” in the subject line, you’ll get an automated ac-knowledgment of receipt of your image.

HOW TO SUBMIT YOUR IMAGES FOR MONTHLY COMPETITION

Exposure Notes is published

monthly by the Southeastern

Photographic Society P. O. Box

49646, Atlanta, GA 30359.

Newsletter Submittal s: Infor-

mation and articles for the

newsletter should be submitted

two weeks prior to the meeting

date. Articles should be sent

electronically to Anne Net-

tles graphixs11@yahoo.com

(please no .pdf documents).

If you win in black and

white or a color category

send a digital file of your

print to me at graphixs11@

yahoo.com Size the

images as if you were

submitting it for the digital

category. Please make

sure your name is on the

title of the image.

Try and remember to do

this as soon after the

meeting as possible. You

do not need to send digital

files. Thanks you!

PHOTOSHOP

In Photoshop, for both hor-

izontal and vertical images

set the height to 1080 and

allow the width to size au-

tomatically (it should end up

around 1624 for horizontal

and 718 for vertical). The

projector will have empty

black space left and right.

Lightroom

In Lightroom, set the

Export Image Sizing to

1920x1080. These are

constraints, so Lightroom

will automatically size the

image without crop- ping

to fit in these dimensions

Heading South on Clairmont toward N. Druid Hills (from I-85 and Clair-mont; from prior meeting location, Briarcliff Baptist Church—approximately 2 miles)Proceed on Clairmont, turn right onto N. Druid Hills, turn right onto Azalea Circle, and then right again into the lot.

Heading South on N. Druid Hills (toward the intersection with Clairmont)Turn left on Azalea Circle (just north of the N. Druid Hills and Clairmont Roads intersection) and then turn right into the lot.

Heading North on Clairmont toward N. Druid HillsTurn left on N. Druid Hills, then right onto Azalea Circle, and then right again into the lot.

Heading North on N. Druid Hills (toward the intersection with Clairmont)Nearly immediately after the intersection with Clairmont, turn right onto Azalea Circle, and then right again into the lot.

Note: One can access the church’s parking from Clairmont via Azalea Circle, but this route is not recommended due to extensive speed bumps and nar-row driving circles.

Recommended access to parking is off N. Druid Hills (not Clairmont). For parking enter from N. Druid Hills Road, directly across from ‘Reg-gie’s’ Hair Salon sign adjacent to the gas station. There is a turn onto Azalea Circle, which has two entrances to the church parking lot. There is one large lot in front of Milligan.

Directions to Clairmont Presbyterian Church

JACKSON FINE ART GALLERY3115 East Shadowlawn AvenueAtlanta, GA 30305 404.233.3739www.jacksonfineart.com

LUMIERE GALLERY425 Peachtree Hills AvenueNortheast Atlanta #29404.261.6100www.lumieregallery.net

THE HAGDORNE FOUNDATION425 Peachtree Hills Ave. #5Northeast Atlanta 404.492.7718www.hfgallery.org

THE HIGH MUSEUM1280 Peachtree Street, N.E.Atlanta, GA 30309 404.733.4444www.high.org

BOOTH WESTERN ART MUSEUM 501 Museum DrivePhone: 770-387-1300http://boothmuseum.org

ATLANTA PHOTOGRAPHY GROUP GALLERY75 Bennett St. NWAtlanta, GA 30309www.apgphoto.org

JENIFER SCHWARTZ GALLERY1000 Marietta StreetSuite 112Atlanta, GA 30318(404) 885-1080www.jenniferschwartzgallery.com

PHOTOGRAPHY GALLERIES AND THINGS TO DO AROUND ATLANTA

If you have any other

shows you would like to

see listed here, please

email Anne Nettles at

graphixs11@yahoo.

com

We meet on the first Friday of Every Month at 7:30 PMOur learn-shops meet the 4th Tuesday of the month unless otherwise noted*

Some Exceptions for holidays. Check the Meet up Site for Details